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Why Amanda Palmer Left the Music 'Industry' For Crowdfunding (digitaltrends.com)
Amanda Palmer says abandoning the commercial music industry for a subscription model made it possible to take more chances, like a new album with psychedelia artist Edward Ka-Spel. An anonymous reader quotes Digital Trends:
I spent my whole life in this music industry trying to figure out how to sell what I'm making. But I don't "sell" anymore -- I just have this magical net of supporters who are supporting me whether I choose to make a record with Edward or make a record with my dad, which I did last year... [S]ometimes, you absolutely want to do ridiculous, noncommercial stuff. The Patreon patrons have been a godsend in that sense. I've had to continually re-educate myself that this isn't about selling music. It's about making music. I got so used to those two being inseparable that it took a lot of psychological work to divorce the processes.
She says her supporters "haven't just promised; they've put down their credit card." And Neil Gaiman, her husband, also strongly endorses the freedom to experiment. "If, as an artist, you ever listen to your fans' demands, and their demands are always insisting you make the last thing they liked again, you would go nowhere."
She says her supporters "haven't just promised; they've put down their credit card." And Neil Gaiman, her husband, also strongly endorses the freedom to experiment. "If, as an artist, you ever listen to your fans' demands, and their demands are always insisting you make the last thing they liked again, you would go nowhere."
Funny that they keep going back to Amanda Palmer for these stories, when the real pioneers in crowd-funded music is Marillion, who started doing it way back in 1996 for tours, and 2001 for albums. If you have a big enough fan base, you can probably can do something like this.
She spoke at a TED talk recently and she's for the free sharing of digital content.
Happiness in intelligent people is the rarest thing I know.
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Regardless of who her husband is, she achieved a degree of commercial success prior to this change, which means that she has managed to build enough audience to make transitioning to crowdfunding easier. Obviously being a signed act isn't the only way to build that audience, but it certainly has its advantages.
Do not look into laser with remaining eye.
Well, your argument depends on chronology. Palmer had her first record out years before she met Gaiman, and that was after she had directed her first play and had developed a local cult following. Gaiman was actually a fan before he was introduced to her.
Which is not to say there aren't rich dilettante women making a "career" out of spending their husbands' fortunes, but to fit Palmer into that mold you have to throw out the facts.
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